• Journal of the Korea Fashion and Costume Design Association
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• v.7 no.1
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• pp.77-84
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• 2005

The purpose of this study is to know on the changes characteristics of eye brow forms of the wester women. A facial image which people recognize contents on changes of image according to various eye brow changes on the face. Various changes of image were seen by length, angle and thickness of eye brow types. The ancient Egyptians used antimony powder to blacken their brows huge black lines. In medieval times, women shaved both their eye brows and their hairlines to give a pure look. The early nineteenth century, brows were untweezed and natural. In the 1920s, when women started paying attention to their faces and their freedom, brows were tweezed, narrowed. In the 1930s, the idealized faces of Jean Harlow, Marlene Dietrich and Greta Garbo - narrow tracery of drawn on brows. The eyebrows is filled various shape of the 1950s. In the 1970s, the Disco Decade of Dreadful tastes, women were at their tweezers again, manicuring their brows. Brooke Shields's natural-looking brow would be an example of the 1980s. In the 1990s, the eyebrow designed by superstar makeup artists who determined the look of fashion model and screen star.

• Journal of the Korean Society for Library and Information Science
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• v.44 no.4
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• pp.115-130
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• 2010

In the archival field, the last decade has witnessed much discussion on archives' broad responsibilities for social memory. Considering that the social role of archives has stemmed from postmodern thinking suggests a paradigm shift from viewing archives as static recorded objects to viewing them as dynamic evidence of human memory. The modern archives and archivists are products of nineteenth-century positivism, limiting their function to archiving written documents within stable organizations. The new thoughts on the social role of archives provide a chance to realize that traditional archival practices have preserved only a sliver of organizational memory, thus ignoring fluid records of human activities and memory. Archival description is the primary method for users to access materials in archives. Thus, it can determine how archival materials will be used (or not used). The traditional archival description works as the representation of archival materials and is directly projected from the hierarchy of organizational documents. This paper argues that archivists will need to redefine archival description to be more sensitive to atypical types of archival materials from various cultural contexts. This paper surveys the postmodern approaches to archival concepts in relation to descriptive practices. It also examines some issues related to representing historically marginalized groups in archival description who were previously neglected in traditional archival practices.

• English Language & Literature Teaching
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• v.13 no.4
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• pp.253-270
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• 2007

The purpose of this paper is to illuminate how Suzan-Lori Parks reveals colonized oppression and violence in a black woman's body in Venus. The body of Hottentot Venus is an 'object' of white male spectators' gazes and a dissection from a medical study. The report on her pathologic anatomy gives the audience the illusion that the body of a black woman is inferior to those of others. Not only 'subjective' aesthetics, but also 'objective' medicine makes us confuse 'fact' with 'truth' about black women. By publicly exhibiting her erotic body, Venus is represented as a singular emblem for nineteenth-century colonial discourse on race and sexuality. Her body stands for the powerful signifier of raped Africa. A distinctive feature of black Venus is her raciality. The ownership of her body is only transferred from Mother-Showman to Doctor Baron. She had no right to her ownership. Her body is an object of hatred and curiosity and at the same time a site which is represented by conflicting desires. Parks' eventual goal in Venus is to investigate 'hindsight' of Venus Hottentot, 'the past' and 'the posterior'. As the meaning of original chocolate can be regained, the insulted and damaged body of Venus should also be recovered and resurrected.

• Journal of the Korean GEO-environmental Society
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• v.4 no.2
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• pp.93-104
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• 2003

Porous media consist of physically and chemically different materials and have an extremely complicated behavior due to the different material properties of each of its constituents. In addition, the internal structure of porous materials has generally a complex geometry that makes the description of its mechanical behavior quite complex. Thus, classical continuum mechanics cannot explain the behavior of materials with pore spaces, such as concrete, soils and organic materials in waste landfill. For these reasons, porous media theory has been developed in the nineteenth century. Biot had the greatest influence on the development of porous media theory. Biot's work has been referred by many authors in the literature. Development of numerous fundamental equations in porous media theory were made possible due to Biot's work. His contributions made the greatest influence on porous media theory. Therefore, it is highly advantageous to review Biot's publications. This work presents a review of Biot's work. It shows how porous media theory has been developing so far and provides a chance to discuss the contribution of his work to the modern porous media theory.

• Asian review of World Histories
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• v.2 no.1
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• pp.105-127
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• 2014

The Silk Road, a trans-Eurasian network of trade routes connecting East and Southeast Asia to Central Asia, India, Southwest Asia, the Mediterranean, and northern Europe, which flourished from roughly 100 BCE to around 1450, has enjoyed two modern eras of intense academic study. The first spanned a period of little more than five decades, from the late nineteenth century into the early1930s, when a succession of European, Japanese, and American scholar-adventurers, working primarily in Chinese Turkestan (present-day Xinjiang Uyghur Autonomous Region, which comprises China's vast northwest) and China's Gansu Province (to the immediate east of Xinjiang) rediscovered and often looted many of the ancient sites and artifacts of the Silk Road. The second era began to pick up momentum in the 1980s due to a number of geopolitical, cultural, and technological realities as well as the emergence of the New World History as a historiographical field and area of teaching. This second period of fascination with the Silk Road has resulted in not only a substantial body of both learned and popular publications as well as productions in other media but also in an ever-expanding sense among historians of the scope, reach, and significance of the Silk Road.

• The International Journal of Costume Culture
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• v.13 no.1
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• pp.1-4
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• 2010

The hand printed cottons of India are historically world-renowned for their rich fast colours, elaborate designs, and matchless quality. Until the discovery of synthetic dyestuffs in the latter part of the nineteenth century, the unsurpassed master dyers of cotton were the craftsmen of India-birthplace of cultivated cotton. The Indian printers and dyers monopolised this arcane art of permeating cotton cloth with richly hued, colour-fast designs, and the fruits of their labour proved hugely influential in international trade and the development of modern textile technologies. This paper focuses on a lesser-known body of hand printed cottons, traditionally produced in rural Rajasthan for everyday use by the local pastoral communities. Drawing on extensive research carried out with the region's Chhipa community of hereditary cloth printers, the complex and multiple applications of mordant, dye and resist are illustrated. Often taking months to complete, the enduring popularity of these labour-intensive hand printed cottons is then discussed, particularly in the light of the hugesocial importance borne by cloth in Rajasthan. Cloth and clothing are widely recognised as indicators of social status, gender, rank, and individual and group affiliations. In addition, cloth and clothing have been established as indicators of social, economic, political and technological change. The paper concludes by drawing attention to the recent influx of machine-printed polyester textiles, often replicating the designs or colours of the traditional locally produced cottons. Thus women of the region, whilst using these modern synthetic textiles as part of newer ways of expressing their identity, also visibly retain the values associated with hand printed cottons and traditional dress codes.

• The Research Journal of the Costume Culture
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• v.25 no.5
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• pp.708-717
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• 2017

Industrial innovation in Britain, during the eighteenth and nineteenth centuries, stimulated the introduction of the factory system and the migration of people from rural agricultural communities to urban industrial societies. The factory system brought elevated levels of economic growth to the purveyors of capitalism, but forced people to migrate into cities where working conditions in factories were, in general, harsh and brutal, and living conditions were cramped, overcrowded and unsanitary. Industrial developments, known collectively as the 'Industrial Revolution', were driven initially by the harnessing of water and steam power, and the widespread construction of rail, shipping and road networks. Parallel with these changes, came the development of purchasing 'middle class', consumers. Various technological ripples (or waves of innovative activity) continued (worldwide) up to the early-twenty-first century. Of recent note are innovations in digital technology, with associated developments, for example, in artificial intelligence, robotics, 3-D printing, materials technology, computing, energy storage, nano-technology, data storage, biotechnology, 'smart textiles' and the introduction of what has become known as 'e-commerce'. This paper identifies the more important early technological innovations, their influence on textile manufacture, distribution and consumption, and the changed role of the designer and craftsperson over the course of these technological ripples. The implications of non-ethical production, globalisation and so-called 'fast fashion' and non-sustainability of manufacture are examined, and the potential benefits and opportunities offered by new and developing forms of social media are considered. The message is that hand-crafted products are ethical, sustainable and durable.

• Journal of architectural history
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• v.15 no.4
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• pp.23-36
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• 2006

Since he was a leading figure in nineteenth century architecture, Viollet-le-Duc's architectural theory is crucial to the foundation of modern architecture. He has been called a Gothic Revivalist, a Structural Rationalist and a Positivist. The first title was perhaps due to his vigorous restoration of Gothic works such as $N\hat{o}tre$ Dame, but he did not adore the Gothic style just for itself. Rather, he hoped to deduce some principles from the style. So how did he manage this? In his book "Entretiens sur l'Architecture (Lectures on Architecture), published between 1864 and 1872, he mentions using Descartes' four rules for reaching architectural certainty in contrast with the chaotic situation during that modernising period. Furthermore Viollet-le-Duc's theory can be seen as a serious attempt to translates Descartes' philosophical rules into systems of architectural speculation. Descartes' four rules of doubt are anchored in mathematical propositions, and without mathematical distinctions, none of these rules are valid. In other word, mathematics for Viollet is the yardstick of judgement between distinctness and indistinctness. Many architectural problems arise from this view. In this paper, the validities of applying Descartes' method of doubt to architectural discourse will be discussed in order to address the question:-Did Viollet-le-Duc clearly grasp Cartesian method by which memory was erased from the world?

• Journal of the Korean Home Economics Association
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• v.34 no.2
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• pp.283-302
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• 1996

The Umsikbup is a book of Korean woman's life in the Yi-dynasty which published in middle of nineteenth century by unknown author. I have studied the food habits of the Yi-dynasty that wrote in umsikbup as followings ; The stape foods are Bab (boiled cooked rice) 1, Myons (noodles) 4 and Mandu 5 kinds. The side dishes are Guk (soup) 3, Sinsollo 1, Jim 9, Jijim 1, Nooruemi 6, Sun 2, Po 3, Muchim 1, Jabans 3, Jockpyuns 2, Pyunyuk 1, Chae 2, and Kimchi 1 kinds. Thare are D'ock 22, Kwajung 46, Beverages 9 and alcohol are 4 kinds. There are many kinds of Dasikk of the Kwajung in the Umsikbup than no other cooking books. The seasonings are soybean sauce 5, honey 6, oil 4 and sesame seeds 3, ect. There are the description of food types in the seasonal variation and also there are the wisdom of life and avoiding food ; toxic meats, fishes, vegetables and fruits in the taboo food. There are most of Kwajung in the Chanhap (food packed in nest of boxes) in addition to beverages, D'ock, Mandu, decoration methods in the seasonal variation. There are many food making terms which are 163 kinds of prepared cooking term 27 kinds of cutting terms and 17 kinds of boiling terms. And 18 kinds of expression of taste can be seen in this book. There are 24 kinds of table were and cooking kitchen utensils, but many of them came to usefulness 12 kinds of measuring units are very non-scientific because that is not by weight but by bulk or volume.

• Journal of the Korean Society of Costume
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• v.60 no.9
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• pp.77-94
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• 2010

It was the era, from 1876 to 1910, that some dramatic changes, including an influx of foreign dyes and the beginning of the modern dyeing manufacture, happened in Korea. This paper explores what dyes were sold in the market in this period, who was the main seller of the goods, and how the dyers produced their products. A wide range of natural dye stuffs coexisted with the various kinds of aniline dyes, alizarin dye and synthetic indigo in the market. Coloring materials had been sold by hwapi-jeon, a group of official merchants who acquired a privilege of monopoly from the government. However, the dyes were also traded by sang-jeon and yakguk merchants in the nineteenth century. Most of the synthetic dyes sold in Korea were produced in Germany or in Japan later, and imported in large amount by Chinese, Japanese and German merchants. Yet there also existed Korean merchants and peddlers who sold the goods to the local consumers. Dyers were male and female who belonged to the middle class. They received the orders and payments from the government or merchants. Not only did they dye textiles, threads, cotton, paper and leather, but they also redyed clothes. Indigo dyers were differentiated from other dyers. Modern dyeing manufacture, which was presumably forced to keep pace with the productivity of the weaving process, appeared in the 1900s. It was a branch of the modern weaving manufacture.